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Muzej Za Umjetnost I Obrt / Museum of Arts and Crafts 4. – 28. 9. 2014 croatian design review 1314 Muzej za umjetnost i obrt / Museum of Arts and Crafts 4. – 28. 9. 2014. 1 ISBN 978-953-6778-09-6 croatian design review 1314 Sadržaj / Contents Uvodna riječ / Introduction (Ivana Borovnjak) 5 / 7 Nevolje samoreprezentacije / The Troubles of Self-Representation (Marko Golub) 9 / 13 Bogdan Budimirov – Nagrada za životno djelo / Bogdan Budimirov – Lifetime Achievement Award (Maroje Mrduljaš) 21 / 25 Ocjenjivački sud / Jury 30 Jan Boelen: Institucija kao uređaj za osvještavanje / Institution as an Awareness Machine (Bojan Krištofić) 39 Armin Vit: Radimo stvari koje bismo, kao grafički dizajneri, voljeli čitati, gledati, kupovati ili u njima sudjelovati / Doing things that we, as Graphic Designers, would like to read, see, buy, or attend (Marko Golub) 45 Dizajn vizualnih komunikacija / Visual Communications Design (Vanja Cuculić) 54 / 56 Industrijski / produkt dizajn / Industrial / Product Design (Tihana Taraba) 58 / 60 Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design (Tin Kadoić) 62 / 64 Modni i odjevni dizajn / Fashion and clothing design (Branka Donassy) 66 / 68 Profesionalni dizajn / Professional Design Dizajn vizualnih komunikacija / Visual Communications Design 74 Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design 242 Industrijski / produkt dizajn / Industrial / Product Design 266 Pregled Hrvatskog dizajna 1314 Prostorne i grafičke intervencije i sistemi / Spatial and Graphic Interventions and Systems 300 Modni i odjevni dizajn / Fashion and Clothing Design 322 Koncept / Concept 336 Studentski dizajn / Student Design Dizajn vizualnih komunikacija / Visual Communications Design 362 Dizajn u digitalnim medijima / dizajn interakcija / Design and Digital Media / Interaction Design 388 Industrijski / produkt dizajn / Industrial / Product Design 396 Prostorne i grafičke intervencije i sistemi / Spatial and Graphic Interventions and System 406 Modni i odjevni dizajn / Fashion and Clothing Design 410 Koncept / Concept 414 Aktivnosti u organizaciji Hrvatskog dizajnerskog društva – rujan 2012. – srpanj 2014. / Activities organised by the Croatian Designers Association – September 2012 – July 2014 Projekti i događanja / Projects and Events 428 Natječaji / Competitions 437 HDD galerija / HDD Gallery 440 Dizajnerska početnica / Design 101 454 Kazalo / Index 456 croatian design review 1314 Uvodna riječ Ivana Borovnjak Od prve Izložbe hrvatskog dizajna 01 u Galeriji Forum 1999. godine do danas prošlo je 15 godina, a izložba 1314 osma je po redu takva manifestacija u organizaciji Hrvatskog dizajner- skog društva. U međuvremenu je uspostavljen bijenalni ritam održavanja koji predstavlja recentnu dizajnersku produkciju iz područja dizajna vizualnih komunikacija, dizajna u digital- nim medijima i dizajna interakcija, produkt dizajna, modnog dizajna i dizajna koncepata. Proširenje kategorija u odnosu na prve izložbe, nužnost je koja prati hibridizaciju dizajna usli- jed brzih socijalnih i kulturoloških promjena. U prilog tome da je potrebna još radikalnija revizija ovakve kategorizacije govori činjenica da se na svaku sljedeću izložbu prijavljuje čitav niz najrazličitijih projekata – od eksperimentalnih do istraživačkih i konceptualnih – koje sve prati jedna te ista poveznica, a to je generalna tendencija brisanja granica među disciplinama i sve teže podvlačenje jasne crte između pojedi- nih povijesno etabliranih kategorizacija. Primjena dizajnerske metodologije u procesu mišljenja i stvaranja unutar različitih sfera društvenog djelovanja jedna je od bitnih odrednica same naše discipline danas. Istovremeno, u Hrvatskoj još uvijek postoji potreba da se dizajn snažnije legitimira kao profesija. U tom su smislu posljednjih godina kroz djelovanje strukovnih udruženja i visokoškolskih ustanova učinjeni veliki koraci, te se danas u određenoj mjeri već može govoriti o prepoznatljivosti hrvatskog dizajna ili barem pojedinačnih autora na regionalnoj i svjetskoj razini, posebice u nekim subspecijalističkim stvaralačkim granama, ali i o generalno jako dobroj recepciji hrvatskog dizajna od domaće publike. Svjesni napor doveo je, osim u dizajnu vizu- alnih komunikacija, i do snažnog profiliranja produkt i mod- nih dizajnera, što je evidentno i kroz količinu ovogodišnjih izložbenih prijava. Zanimljiv je, međutim, nesrazmjer između broja stasalih dizajnera s artikuliranim stavovima i infrastruk- turne podrške u obrtničkoj i industrijskoj proizvodnji, koja izostaje zahvaljujući vrlo lošoj međusektorskoj povezanosti i nedostatku obrazovanih menadžera i teoretičara dizajna. Feno- men inflacije dizajnerskih prototipova koji najčešće još uvijek zapnu prilikom samog početka proizvodnje ili se proizvode u limitiranim serijama, zato je još uvijek najčešća slika stvarnosti. Na sreću ili ne, usmjerenost europskih fondova za kulturu na dizajn i kreativne industrije možda je pretpostavka za svjetliju budućnost suživota dizajna i gospodarstva, te dizajna i kritike. U području vizualnih komunikacija kroz prijave se može iščita- ti svojevrsna stagnacija proizvodnje uvjetovana višegodišnjim ivana borovnjak: introduction 5 Pregled Hrvatskog dizajna 1314 stanjem krize, ali u konačnici je ipak vidljiv i kontinuirani rast kvalitete, pogotovo studijskih projekata koji mada često isfor- sirani u kalup socijalno angažiranog, pokazuju znatan pomak u odnosu na donedavnu dominantnu orijentiranost prema projektima u službi oglašavanja. Sve veći broj novootvorenih dizajnerskih škola i fakulteta u zemlji i regiji, razmjena stude- nata i fluktuacija znanja obećava zdraviji i raznolikiji pristup dizajniranju. U konačnici, izbor radova na izložbi koji su pred- stavljeni ovim katalogom samo je jedan od mogućih scenarija prezentacije suvremene dizajnerske produkcije. U budućnosti bi zbog svih gore navedenih razloga trebalo razmisliti koji su alternativni načini predstavljanja dizajna javnosti. Možda će jedan od prvih takvih pokušaja preobrazbe konzervativnog izložbenog formata u regiji – BIO50 sa svojom koncepcijom interaktivnih i multidisciplinarnih stvaralačkih platformi kroz široko umrežavanje pojedinaca i institucija – poslužiti kao pokazatelj nužnosti promjene u prezentiranju, dizajna koja vodi intelektualnom i društvenom napretku, a ne udo- voljava isključivo galerijskom i muzejskom okviru za koji je izvorno osmišljen. ivana borovnjak: uvodna riječ 6 croatian design review 1314 Introduction Ivana Borovnjak Fifteen years have passed since the first exhibition of Croatian design titled 01 and organized at the Forum Gallery in 1999, and this year’s 1314 exhibition is the eight exhibition organized by the Croatian Designers’ Association. In the meantime, the exhibition got a biennial rhythm to showcase the latest design production in various fields such as visual communications, digital media and interaction design, product design, fashion design and concept design. The categories have been expanded in comparison with the first exhibition, which is a necessity that follows the hybridization of design due to rapid social and cultu- ral changes. Additionally, there is a need to radically revise this categorization because every new exhibition sees a whole range of very diversified projects – from those experimental ones to the conceptual ones and those focused on research. All those projects have something in common: general tendency to wipe out all boundaries between the disciplines and difficulty to draw a clear line delimiting individual historically established cate- gories. The application of design methodology in the creation process within various spheres of social activism figures as one on the most important characteristics of our discipline today. At the same time, we see that in Croatia there is still a need to legitimize design as a profession. In that sense there have been some serious improvements in terms of involvement of professional associations and institutions of higher education so that it is possible to talk about recognisability of Croatian design or, at least, some individual designers active on the regi- onal and international level, especially in some subspecialized branches. It is also possible to conclude that Croatian design is generally well received by the domestic audience. Apart from the visual communications design category, continuous efforts have lead to stronger profiling of product and fashion designers, which is particularly evident in the quantity of this year’s applications. However, it is interesting to see a discre- pancy between the number of fully-fledged designers with articulated positions and the infrastructural support in crafts and industrial production, which is still missing due to very poor links between various sectors and the lack of educated managers and design theoreticians. In most cases, in the re- ality we are faced with the phenomenon of the inflation of design prototypes that usually stumble upon difficulties in the early phases of production or reach the production only in limited editions. Luckily or not, the European funds for culture oriented to design and creative industries might be a presumption for a better future where design and economy or design and professional evaluation might co-exist. ivana borovnjak: introduction 7 Pregled Hrvatskog dizajna 1314 Various applications for visual communications design indicate a kind of stagnation in the production conditioned by several years of economic crises, but ultimately there is an obvious and continuous tendency for improved quality, especially in
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